A Quote by Larry Ellison
I'm going to start these art museums that are basically converted homes, and I have one for modern art, and I have one for 19th century European art, and one for French impressionism. I've got Japanese.
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Andy was a nonverbal person; you couldn't get directions out of him. All he knew was what was modern in art was what wasn't art: The telephone was art, the pizza was art, but what was hanging on walls in museums wasn't art.
There was once a time when art history and film were basically the same medium, but art history is frozen in late-19th-century technology that has survived into the early 21st century.
When I was a kid, I looked at art as a way of blending everything. One of my favorite composers is Wagner - who coined the term "gesamtkunstwerk," or "total art work." That's what was going on in the 19th century, and the 20th century just kept it going.
We do have Museums of African American Art in the United States, and there is a National Museum of Women's Art. However, I believe Latinos are best served by displaying their art next to the art of other groups, particularly North American, European, and even Asian artists.
The French, whose fascination with 19th-century Japanese painting and decorative art led them to coin the term 'Japonisme,' have reciprocated the interest, and the exchange - in food, fashion and design - is ongoing. After all, these are two countries where style is considered essential to life.
When I was in art school, I thought art was something I would learn how to do, and then I would just do it. At a certain point I realized that it wasn't going to work like that. Basically, I would have to start over every day and figure out what art was going to be.
It is neither Art for Art, nor Art against Art. I am for Art, but for Art that has nothing to do with Art. Art has everything to do with life, but it has nothing to do with Art.
Our time and attention is scarce. Art is not that important to us, no matter what we might like to believe... Our love of art is often quite temporary, dependent upon our moods, and our love of art is subservient to our demand for a positive self image. How we look at art should account for those imperfections and work around them. Keep in mind that books, like art museums, are not always geared to the desires of the reader. Maybe we think we are supposed to like tough books, but are we? Who says? Many writers (and art museums) produce for quite a small subsample of the... public.
When we even use the term 'specialized world,' we already have a problem! We're making art; they are making art... these worlds are not far apart from each other. For instance, pieces of art that hang on a wall can be seen in museums or can be used in a variety of commercial ways. That art is everywhere, so the message is that it's a part of everyday life.
Of course, museums and galleries and art spaces will continue to ground the art world. But certainly the public - as well as artists - also benefit when art is encountered in other everyday situations.
What the art historians had forgotten is that in Chinese, Japanese, Persian, and Indian art, they never painted shadows. Why did they paint shadows in European art? Shadows are because of optics. Optics need shadows and strong light. Strong light makes the deepest shadows. It took me a few years to realize fully that the art historians didn't grasp that. There are a lot of interesting new things, ideas, pictures.
In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
Here's the new art of the twenty-first century: the art of curating, the art of plucking all the good stuff from a superabundance of crap.
Art, to me is the interpretation of the impression which nature makes upon the eye and brain. The word 'Impressionism' as applied to art has been abused, and in the general acceptance of the term has become perverted. [...] The true impressionism is realism. So many people do not observe. They take the ready-made axioms laid down by others, and walk blindly in a rut without trying to see for themselves.
This kind of painting with its large frames is a bourgeois drawing-room art. It is an art dealer's art-and that came in after the civil wars following the French Revolution.
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